If MoMA's Abstract Expressionist show is the grand museum feast of the season, "New Photography 2010" is the most sumptuous, tantalizing dessert. Photos by Alex Prager (the youngest here) strike most immediately: giant staged shots of individuals and crowds that drip with color and melodrama. Meanwhile, Elad Lassry places otherworldly photos of mushrooms, peppers, and ceramic monkeys in colored frames and Amanda Ross-Ho hones her assembled networks of images. The always-dependable Roe Ethridge outdoes himself with pictures of a pumpkin, a pixilated scarf, and a bowl of fruit draped with a wispy layer of mold.

Just a week after the Austrian Cultural Forum opened a show devoted to art from Serbia, the ISCP is looking at art from Central and Eastern Europe. But there is a trick here: curators invited eight artists whose work specifically "does not address the social and political history of their countries." They then asked each of those artists to nominate another artist to participate. Will broad networking lead to a fresh clarity or a tangled curatorial mess? We'll see!

While many of the forces behind New York's abrasive late 1970s No Wave music scene -- Lydia Lunch, Mars, DNA, and so forth -- have since become cult heroes, the filmmakers involved in the movement (if it can be called that) are comparatively little known. This series could help change that, with screenings of films like Michael Oblowitz's 1979 'psycho noir' "Minus Zero" and "Barbie," a 1977 short by Tina L'Hotsky, which organizers bill as a "witty commentary on female objectification." A second night of screenings is scheduled for October 8.